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The Gift/Transcript
Prologue A Note to Celia (At a large public fountain, a young woman is watching two boys as they play with sailboats. Al Gough is heard in voiceover as the woman returns to her car and sees a notice from Blue Hand on her windshield.) AL GOUGH: Dear Celia, I don't know your last name, and I don't know where you live, but I know you have two young boys – twins, I believe. And I know you didn't have a flash-forward. I understand how terrifying that is and how powerless you must be feeling. But I want you to know that you are not alone. An Appointment ZOEY: E-mailing your old girlfriends? DEMETRI: No, we, uh, we broke up. This is just porn. ZOEY: Oh, okay. DEMETRI: Yeah. ZOEY: I'm in pre-trial conference all day, so totally unreachable, but don't forget we need to sign off on the proofs later. DEMETRI: Proofs? ZOEY: For the wedding invitations. DEMETRI: Right. 30 00:01:46,973 --> 00:01:48,843 Bet you 20 bucks they spell my name wrong. 31 00:01:49,034 --> 00:01:50,444 Bet you $100 they got mine wrong. 32 00:01:50,662 --> 00:01:53,583 You know, they say couples with commonly misspelled names 33 00:01:53,874 --> 00:01:55,118 are the most successful. 34 00:01:55,752 --> 00:01:57,006 - Really? - Mm-hmm. ZOEY: Meet me at the printers at 6:00, okay? DEMETRI: Can't you just pick one? ZOEY: I'm gonna pretend I didn't hear that. DEMETRI: I'm just saying you have great taste. I mean, I don't need to be there, right? 40 00:02:11,972 --> 00:02:12,990 Hey, kick ass today. Trust? OLIVIA: I might be home a little late tonight. I'm covering the E.R. for Sally again. I tried to get out of it, but – MARK: You don't have to explain. OLIVIA: It's just hard 'cause Crosby's out of town, so there really is no one else. MARK: Olivia, you don't have to explain. I trust you. OLIVIA: Good. I trust you, too. The Corpses (Mark Benford, Demetri Noh, and Al Gough are riding in an elevator.) DEMETRI: It's like everything I say comes out wrong – AL GOUGH: Everything. DEMETRI: Even when we're getting along, it's tense. 54 00:02:59,621 --> 00:03:01,230 Things have changed for everybody. 55 00:03:01,601 --> 00:03:02,650 It's a new world. 56 00:03:02,859 --> 00:03:05,111 Yeah? I miss the old one then. AL GOUGH: Really? The one where you used to crash on my couch playing "Madden" till 4:00 A.M.? DEMETRI: Don't you mean futon, and don't you mean kicking your ass until 4:00 A.M.? AL GOUGH: What? DEMETRI: What? I said it. AL GOUGH: No, you didn't kick anything. You were – you were cheating. That's what you were doing. DEMETRI: Hey, man, what you call cheating I call finding a way to change the game, my friend. AL GOUGH: Oh. (The three enter an examining room.) MARTIN DEWEY: How's Agent Hawk doing? MARK: She's out of the woods. Should be back to work in a few weeks. You think these three had something to do with her shooting? 72 00:03:35,214 --> 00:03:37,942 Well, we followed the hand stamp from the guy who shot Janis, 73 00:03:38,825 --> 00:03:41,055 led us to the house where we found these guys. 74 00:03:41,123 --> 00:03:42,392 The Blue Hand stamp? 75 00:03:42,393 --> 00:03:42,974 Mm-hmm. 76 00:03:43,759 --> 00:03:44,734 I'm sensing a theme. 77 00:03:44,852 --> 00:03:45,976 Yeah? You want to share? MARTIN DEWEY: The contact ring, residue patterns and bullet trajectories are consistent with self-inflicted gunshot wounds. 81 00:03:52,605 --> 00:03:53,635 Self-inflicted? 82 00:03:54,039 --> 00:03:56,667 Was it—you think this is some kind of suicide pact? MARTIN DEWEY: Had to be. 84 00:03:58,241 --> 00:04:00,410 But then who arranged the bodies 85 00:04:00,445 --> 00:04:01,769 and covered them with the sheets that night? MARTIN DEWEY: All had alcohol in their systems. She had ecstasy and heroin. 88 00:04:06,528 --> 00:04:08,164 Hey, Dem, who—who are these people? DEMETRI: Um, Jason Martinez, 37. Married, two children. This is Diana Davis. Still looking for next of kin, and– and Ian Rutherford, 25. British national. Reported missing from a cargo vessel docked in Long Beach. 94 00:04:25,880 --> 00:04:27,324 Your Rutherford case? 95 00:04:27,789 --> 00:04:28,608 Yeah. 96 00:04:33,256 --> 00:04:34,452 Here we go. Act I Meeting Mike JACK: (to other men) Hang up. (to Aaron) Hey, Aaron. AARON: What's up, Jack? JACK: There's a guy waiting for you inside. Says he served with Tracy. AARON: How can I help you? MIKE: (standing in "at ease" position) You're Aaron Stark? (Aaron nods.) Corporal Mike Willingham. I've been meaning to come talk to you for a while, but I've been mixed up – trying to get a job, trying to get a place to live. AARON: It's tough re-adjusting to civilian life. MIKE: Especially with the way things are now. You just gotta hope it gets better. AARON: Yeah. MIKE: Sorry to bother you at your place of work, but I promised Tracy that if anything ever happened to her, I'd give you this. AARON: I hadn't seen this knife since Tracy deployed four years ago, but somehow... AARON: Now I understand how in my flash-forward, I was giving it back to her. MIKE: She said it was a good luck charm. Maybe there's something to that. AARON: For two years, I've had to listen to people telling me to move on, to accept what happened to her. But I always knew I'd see her again. Now you showing up here and... It's all happening, isn't it? It's all happening. (Hugs Mike) Thank you, Mike. Thank you. Finding Blue Hand STAN: Why do a copy machine salesman, a librarian and a Scottish journalist all decide to get together to shoot themselves? FIONA: Because print is dead? STAN: Gough, say hello to your vision. You all know Fiona Banks, MI6, fresh off the plane from London. FIONA: Nice to meet you again... for the first time. Al: Yeah. Nice to meet you. MARK: Suicide seems a little low-incident for MI6. FIONA: Ian Rutherford was reported missing off a cargo ship two weeks ago. The British embassy was notified. I saw the report and came here because – AL: 'Cause you knew you'd be working on this case from your flash-forward. STAN: That's all well and good, but what do we got in the present? DEMETRI: Well, when I found out all three VICs committed suicide, I cross-referenced their visions on Mosaic. Turns out they're all ghosts. So people who didn't see anything in their flash-forwards – That's what they call themselves. FIONA: So none of them had visions, and now they're all dead. Am I the only one who finds that disturbing? DEMETRI: No, you're not. Here. Check this out. (Displays his laptop content on a large monitor in the room.) It's a ghost web site. It's where they connect with each other, find out about upcoming events. FIONA: (reading screen) Anchorage, Buenos Aires, Dubai... Whatever this is, it's happening everywhere. AL: (reading screen) "The Blue Hand. No limits. No fear. A place where ghosts can gather to embrace the inevitable." STAN: You've got to be kidding me. A death club? MARK: Like a book club with bullets. STAN: Whatever it is, the guy who shot Janis is a part of it. We need to find these people, figure out who they are and shut them down. DEMETRI: The next meeting in Los Angeles is being hosted by a guy named Raynaud – Dr. Maurice Raynaud. STAN: When's the meeting? AUDIO FROM WEB PAGE: Tonight, go downtown and check the time. Tonight, go downtown and check the time. Tonight, go downtown and check the time. Act II FIONA BANKS: Ian Blaine Rutherford. Born in Edinburgh, 1984. Father's an aviation mechanic. Mother... Works in a factory, makes cell phone components. 184 00:09:02,358 --> 00:09:04,043 I've already seen that file. FIONA BANKS: Yes, of course. 186 00:09:07,087 --> 00:09:09,957 Sorry. I just, uh, I never expected to be working 187 00:09:09,992 --> 00:09:11,125 on this case so soon. 188 00:09:11,493 --> 00:09:15,179 The dominos seem to be falling into place, don't they? FIONA BANKS: It's funny. I don't remember anything from the actual dossier other than his name. I just remember you... and the bird. FIONA BANKS: There was nothing I could do to stop it. 205 00:10:15,132 --> 00:10:16,414 What was your phone call about? 206 00:10:17,327 --> 00:10:18,565 It was my attorney. 207 00:10:19,361 --> 00:10:20,580 Why were you speaking to an attorney? 208 00:10:20,640 --> 00:10:21,635 Did something happen? 209 00:10:25,816 --> 00:10:26,944 I killed her. 210 00:10:29,213 --> 00:10:30,447 No, everything was fine. Demetri and Zoey Argue DEMETRI: Hey, babe. Hey, I'm working downtown tonight. Thought I might stop by that bakery on Grand on the way back, pick us up some of those cinnamon rolls. (Zoey does not respond.) Or not. ZOEY: You don't have any idea why I'm mad, do you? DEMETRI: No. ZOEY: The printers? Our invitations? DEMETRI: Oh, my God. I'm so sorry. Work was so crazy. All right? We got a lead on the guy who shot Janis, and now we're going to this underground club – ZOEY: Yeah, you're not the only one who had a crazy day. I've been cranking out motions in limine all afternoon but somehow made it to the printers anyway. DEMETRI: You're right. I suck. I should have been there. I'm really sorry. ZOEY: It's not about the invitations, Dem. It's about you and me and the fact that you've been checked out ever since I got home from Seattle. DEMETRI: You know I've been slammed since the blackout. Babe, please. ZOEY: Yes, since the blackout, yeah. That's been your excuse for everything. Yeah, no, why you are late coming home, why you don't feel like talking, why you shut your computer every time I walk in the room. It's... It's like I don't even exist. DEMETRI: Hey, that's unfair. ZOEY: What's unfair is being in love with someone who treats you like a stranger. That's unfair. You know, and I don't want you to apologize. I don't. I want you to want to be here. Talk to me. Just—just be honest about whatever's going on. DEMETRI: You want me to be honest. ZOEY: Yes. DEMETRI: The more you jump down my throat, the less I want to be here. How's that for honesty? (Demetri walks out of their apartment.) ZOEY: Demetri! Dem! Nicole Finds a Position (Nicole Kirby has found a volunteer position at Angeles Hospital.) 253 00:12:32,237 --> 00:12:34,274 - Is he qualified? - No, I think—NICOLE: Thanks so much for having me. OLIVIA: Oh, not at all. We always need volunteers. I gotta tell you, there's a lot of menial tasks – A lot of charts to be filed and blood to be run to the lab. It's not exactly glamorous. NICOLE: I'm not looking for glamour. BRYCE: Dr. Benford? OLIVIA: Hey, aren't you supposed to be at that intern conference? BRYCE: Yeah, but lab's lost the coags on our spider girl, the O.R. is trying to bump our appy another hour, and volvulus guy is leaving the A.M.A. to see his kid in this "ice capades" thing. OLIVIA: Okay, so redraw the coags, tell the O.R. no, and I'll talk to skater dad. BRYCE: Okay. OLIVIA: Bryce, do you know Nicole? BRYCE: Uh, yeah. Yeah, I think we met at your Christmas party last year. Hi. NICOLE: Hey. OLIVIA: Nicole's volunteering here. (to Nicole) You know what – Shadow Bryce. He'll show you the lay of the land. I will catch you later. NICOLE: Thanks. (to Bryce) What's "volvulus"? BRYCE: Twisted gut. You pre-med? NICOLE: No, I – I'm just volunteering, helping people, you know. (Suzuki enters, speaking Japanese rapidly.)konna mono iranai! konna mono iranai!(こんなものいらない！こんなものいらない！) ano hitotachi watashi wo korositainoyo! (あのひとたち私を殺したいのよ!) DEBBIE: Uh... Um, ma'am... Okay, slow down. I'm sorry. We don't understand you. Suzuki: mada ikenaino!(まだ逝けないの) (Nicole intervenes and converses in Japanese with Suzuki.):dochirahe?(どちらへ) Suzuki:mainichi mainichi hana ga todoku kedo hanakotoba wa "sayonara". (毎日毎日花が届くけど、花言葉は「さよなら」)watashi ni shindehoshiinoyo!(私に死んでほしいのよ!) Nicole:kono hana wa watashi ga kataduketeokimasu.(この花は私が片付けておきます) Suzuki-san wa hayaku yokunaoruyou yasundekudasai(鈴木さんは早く良く治る様休んでください) SUKI: Thank you. Arigato. NICOLE: Sweet peas symbolize good-bye in Japanese culture. It's considered a bad omen to give it to the sick. DEBBIE: Ah. Arriving at the Death Club DEMETRI: Is that a cardigan? AL: What? I was going for Average Joe. MARK: Back off, Dem. That jacket? Ridiculous. DEMETRI: Says the FBI agent in a police T-shirt. Good going. (Mark stops and look up) What? (All look at an illuminated clock face.) MARK: "Go downtown, check the time." (Mark pounds on door, which is opened by a silent man.) DEMETRI: We're... here for the meeting. MARK: At, uh, Dr. Raynaud's invitation. (The man stamps the hands of all three and leads therm to a room containing a table. Romanchak enters and places a revilver on the table.) ROMANCHAK: Who's gonna play? MARK: Play? (Romanchak points weapon under his chin and pulls the trigger. Empty.) ROMANCHAK: Who is going to play? (Al Gough points weapon under his chin and pulls the trigger. Empty.) DEMETRI: I get it. No bullets. Good gag. (Romanchak clears weapon and one bullets falls out.) ROMANCHAK: Your ticket... in. Welcome to the Blue Hand, gentlemen. MARK: You got a death wish? You could have been killed. AL: Not today. (Al tosses the bullet to Mark; it has "NOT TODAY" printed on the casing.) Act III At the Death Club DEMETRI: That was a real bullet in that gun. You know that, right? AL GOUGH: Listen, Demetri, unlike the rest of these people, I know I'm gonna be alive in six months. I've seen it. So bullet or no bullet, there's no way I was gonna die tonight. NADINE: Hey. What can I get you? MARK: Could you get us to talk to Raynaud? Is he here? NADINE: Hmm. You guys first-timers? MARK: No. Maybe. NADINE: The Raynaud changes at each gathering. MARK: And where is tonight's Raynaud? NADINE: He's around. You'll know him when you see him. DEMETRI: What you got? MARK: It was on my board. Another piece of the puzzle. 320 00:17:39,790 --> 00:17:43,247 So what do we... do here? NADINE: Anything you want. No limits. No fear. There's something for everybody. Lloyd and Olivia Talk LLOYD: Hi. OLIVIA: Hey. LLOYD: Look, I-I really need to talk to you about – OLIVIA: I don't think we should really be doing the – any of the... LLOYD: Uh, me first? OLIVIA: Um, okay. LLOYD: Okay. Fine. Um, I really just came by to say thank you for everything you've done for Dylan. OLIVIA: He did all the hard work himself. LLOYD: Well, you saved his life... And in doing that, um, you saved mine as well. Look, the very last thing that I would want to do is ruin yours. I really mean it. OLIVIA: I really don't think we should be – LLOYD: Hey, listen, I understand. I understand that this is really very awkward. So please just let me be perfectly clear. Nothing is going to happen between us. OLIVIA: No, I know that. LLOYD: I would never do anything to come between you and your husband, despite what we may have seen or experienced. OLIVIA: Good. LLOYD: Okay, good. So, uh, Dylan and I are gonna move back to the bay area as soon as they approve the hospital transfer. OLIVIA: Good. Oh, good. That's... that's good. OLIVIA: You must be anxious to, um, you know, get back to work. OLIVIA: Yeah, right. Um – LLOYD: And I should go. So... Listen, um, thank you so much for everything again. OLIVIA: Yeah, I'll do everything I can to push that transfer through. LLOYD: Okay, great. Thanks. OLIVIA: Um, just excuse me. LLOYD: Thank you. Nicole Encourages Bryce BRYCE: Hey, where did you learn how to speak Japanese? NICOLE: My dad was stationed in Okinawa when I was little, and I picked it up. When we moved back, I took it in school. BRYCE: Can I show you something? Just for a second. (Shows his drawing to Nicole) Uh, in my flash-forward, I saw this symbol behind her. NICOLE: Who's the woman? BRYCE: I have no idea. I was hoping that if I could figure out what the symbol meant, then I might be able to find her. I know it's an Asian character, but nobody seems to recognize it. NICOLE: They didn't see it because it wasn't finished. You have a pen? BRYCE: Yeah, a pencil. NICOLE: (pausing before marking drawing) May I? BRYCE: Please. NICOLE: (finishing ideoigram behind woman's head) There. It's kanji. It's a Japanese letter. BRYCE: Kanji. What's it mean? NICOLE: "Believe." 4Mike Tells the Truth (Elements of the flashback are ion parentheses) MIKE: Mr. Stark? AARON: Mike. What are you doing here? MIKE: Sorry to bother you again. I just didn't feel right leaving things the way we did earlier. AARON: I'm not sure I understand. MIKE: It's just... You seemed so happy, and I didn't know how to tell you, but I think you deserve to know the truth. AARON: Truth about what? MIKE: About what you saw in your vision with Tracy. It's not possible. AARON: What are you talking about? MIKE: I was with her in the humvee. (Humvee is in pursuit of an SUV manned by Afghans.) TRACY: Godfather, this is Hit Man 2 requesting backup. We're Oscar Mike, pursuing Hajjis heading north, about two clicks away from checkpoint Victor Tango. Over. (no response) Damn! (Mike applies brakes and the humvee slides to a stop.) MIKE: Who the hell are these guys? Those aren't Hajjis. TRACY: Back up! Back up! Those are Jericho! We got to get out! Move! Burro, burro! We're gonna get waxed! MIKE: Get out! TRACY: Look out! MIKE: Come on! Tracy! MIKE: I'm sorry, sir. When I went back to check on her... MIKE: Tracy! Tracy! MIKE: I had to run. I had to. But I saw her die. I saw her die. "Raynaud" 410 00:22:29,563 --> 00:22:31,141 This is pathetic. 411 00:22:32,927 --> 00:22:34,115 What have they got to lose, man? 412 00:22:35,094 --> 00:22:37,415 Doesn't matter if it's tonight or next month. 413 00:22:38,565 --> 00:22:39,236 They're dead anyway. 414 00:23:08,147 --> 00:23:08,885 Blue hands. 415 00:23:10,787 --> 00:23:12,203 They represent a portal, 416 00:23:13,223 --> 00:23:15,930 a gateway from one understanding to another. 417 00:23:16,811 --> 00:23:19,428 The blue hand marks a surrender 418 00:23:20,048 --> 00:23:21,104 to the inevitable. 419 00:23:21,836 --> 00:23:22,718 Raynaud. 420 00:23:26,352 --> 00:23:27,093 Here we go. 421 00:23:28,193 --> 00:23:29,578 - You got me? - Yeah. 422 00:23:30,551 --> 00:23:31,329 FBI! 423 00:23:32,584 --> 00:23:33,787 - Everybody get down! - Get down! 424 00:23:33,822 --> 00:23:35,007 - Everybody down! - Everybody! 425 00:23:35,245 --> 00:23:37,664 FBI! Get down! Everybody down! 426 00:23:37,881 --> 00:23:39,065 - Get my gun! - Now! Now! 427 00:23:40,088 --> 00:23:42,250 - Aah. I want to-- - Turn around. Turn around! 428 00:23:42,886 --> 00:23:44,269 I want this to end. 429 00:23:44,721 --> 00:23:47,599 Not today. Not today. Act IV Interviewing Jeff Slingerland DEMETRI: "Doctor Maurice Raynaud. Discovered Raynaud's phenomenon, also known as 'blue hands.' Died Eighteen-Eighty-One." Guess it does beat your real name, Jeff Slingerland. Am I saying that right? MARK: Says here you taught American history at South Fairfax High. Then the blackout happens, you turn into Friedrich Nietzsche. Why is that, Jeff? Or do you prefer Dr. Raynaud? JEFF: You know what Nietzsche said? "If you gaze into the abyss, the abyss also gazes into you." MARK: Is that the kind of optimism that comes from not having a vision? JEFF: I had a vision. A bottomless pit of darkness and indifference, infinite in its nothingness, as if I never existed at all and I never would again. MARK: These people who didn't have a vision – these ghosts – Where do you Raynauds find them? JEFF: We don't find them. You do. There's no better place to go than your Mosaic site. Couldn't do it without you. MARK: Do you see this guy? (Shows photo of Janis' attacker) One of your fellow blue hands, shot and nearly killed an FBI agent. You better start talking, or I'm gonna charge you as an accomplice after the fact. JEFF: Fine. Throw me in prison. I don't care. It's all mapped out. Don't you understand? The script for this conversation has already been written. Whatever you've all seen is gonna happen. MARK: What if you're wrong? What if April 29 comes and goes, and you're still alive? What then? JEFF: You can run and you can hide, but you can't escape what's coming. No one can. Saving the Bird 472 00:25:49,228 --> 00:25:49,774 Heading out? 473 00:25:50,534 --> 00:25:53,235 Yes, back to my luxury suite. 474 00:25:53,436 --> 00:25:55,062 They still putting visiting agents up 475 00:25:55,097 --> 00:25:56,748 at those crappy hotels by the airport? 476 00:25:57,395 --> 00:25:58,713 Now you're just rubbing it in. 477 00:25:59,327 --> 00:26:00,743 You ever try dirty rice? 478 00:26:01,521 --> 00:26:04,702 Dirty rice? What, you mean, like, eating it off the floor? 479 00:26:07,193 --> 00:26:09,501 No, no, it's, uh, it's a cajun dish. 480 00:26:10,601 --> 00:26:11,378 It's my favorite. 481 00:26:12,034 --> 00:26:14,251 My mom makes it for me when I go home at the holidays. 482 00:26:14,286 --> 00:26:15,905 I thought I might try and make a batch of it tonight. 483 00:26:15,906 --> 00:26:17,130 If you're feeling hungry at all... 484 00:26:17,623 --> 00:26:19,809 That's, uh, sweet of you. That really is, 485 00:26:19,810 --> 00:26:23,536 - but I'm jet-lagged. - I understand. I'd be tired, too. 486 00:26:29,631 --> 00:26:31,299 You know, I've been thinking about our bird. 487 00:26:32,955 --> 00:26:35,550 - What if you taped the window? - How do you mean? 488 00:26:36,238 --> 00:26:37,610 Well, if you cover the window, 489 00:26:38,822 --> 00:26:40,398 the bird might not crash into it. 490 00:26:40,947 --> 00:26:41,969 It's a nice thought. 491 00:26:43,162 --> 00:26:45,531 I think it'll probably just crash into a different window. 492 00:26:46,060 --> 00:26:46,715 Maybe. 493 00:26:49,083 --> 00:26:49,902 But it's worth a shot. 494 00:26:51,477 --> 00:26:52,203 Hmm. 495 00:26:59,244 --> 00:27:01,858 Can't accuse him of sugarcoating things. 496 00:27:03,206 --> 00:27:07,137 That guy makes Marilyn Manson look like Mr. Rogers. 497 00:27:08,576 --> 00:27:10,759 Everybody deals with it differently, I guess. 498 00:27:13,528 --> 00:27:14,463 I'm sorry, I... 499 00:27:14,498 --> 00:27:16,494 It's all right. 500 00:27:17,532 --> 00:27:19,523 At least I don't have to deal with the uncertainty. 501 00:27:20,356 --> 00:27:21,800 It is the one good thing 502 00:27:21,867 --> 00:27:23,908 about knowing the exact date of your murder. 503 00:27:24,670 --> 00:27:26,046 Gives you time to prepare. 504 00:27:28,333 --> 00:27:29,256 So what's gonna happen? 505 00:27:29,308 --> 00:27:32,236 March 15 comes around, you're just gonna pack it in? 506 00:27:32,397 --> 00:27:33,820 - Come on, man. - Huh? 507 00:27:34,011 --> 00:27:37,171 Say your good-byes, have a nice farewell dinner? 508 00:27:37,206 --> 00:27:38,846 I'll deal with it the way I choose to deal with it. 509 00:27:38,881 --> 00:27:41,002 You deal with it by fighting it. That's what we're doing here. 510 00:27:41,037 --> 00:27:42,535 Wake up, would you, please? Wake up! 511 00:27:44,223 --> 00:27:46,335 D. Gibbons. The—the doll factory. 512 00:27:46,370 --> 00:27:49,242 137 sekunden. The Blue Hand. 513 00:27:49,277 --> 00:27:50,320 It's all come true. 514 00:27:50,390 --> 00:27:51,512 No, no. 515 00:27:51,664 --> 00:27:54,555 - Listen, it doesn't mean that you're-- - Mark, look around you. 516 00:27:55,869 --> 00:27:56,891 Look around, man. 517 00:28:00,252 --> 00:28:01,531 Raynaud was right. 518 00:28:03,784 --> 00:28:04,723 It's all happening, 519 00:28:05,058 --> 00:28:06,450 every single day. 520 00:28:12,540 --> 00:28:13,806 There's no way out. 521 00:28:14,752 --> 00:28:18,234 There's nothing you or I or anyone can do 522 00:28:18,269 --> 00:28:19,341 to escape what's coming. 523 00:28:20,789 --> 00:28:21,749 Give me 20 bucks for it. 524 00:28:25,573 --> 00:28:28,594 This is magic beyond all comprehension. 525 00:28:29,329 --> 00:28:32,063 It surges with power unimaginable. 526 00:28:32,366 --> 00:28:34,171 It seems that cosmic energies 527 00:28:34,206 --> 00:28:36,137 not meant for the mortal men. 528 00:28:36,365 --> 00:28:37,550 They stay crumbled 529 00:28:37,585 --> 00:28:40,014 and resent the shattering omnipotence. 530 00:28:43,015 --> 00:28:46,368 Okay, I'm tired, you're tired. It's time for bed. 531 00:28:46,403 --> 00:28:49,224 Oh, Mommy! Please? 532 00:28:49,259 --> 00:28:50,428 That's all right. I got it. 533 00:28:51,766 --> 00:28:53,002 Okay, five minutes. 534 00:28:53,037 --> 00:28:54,465 - Okay. - Five. 535 00:28:54,764 --> 00:28:55,431 Okay. 536 00:28:55,481 --> 00:28:56,921 - I love you. - I love you, too. 537 00:28:57,046 --> 00:28:58,457 Sleep well. Good night. 538 00:28:59,098 --> 00:28:59,696 Okay. 539 00:29:12,891 --> 00:29:15,084 Daddy, are you sad? 540 00:29:15,382 --> 00:29:16,920 No. No, baby. 541 00:29:17,918 --> 00:29:18,926 Daddy's happy. Demetri and Zoey Reconcile DEMETRI: Got you something. ZOEY: Um... I'm not really hungry, but thanks. DEMETRI: I really do love you. You know that, right? I know I've, uh... I've been distant lately, but I... Didn't know how to tell you, uh... And what to tell you. I didn't know what to do. ZOEY: About? DEMETRI: About my flash-forward. I told you I saw myself on the beach at our wedding. That was a lie. I didn't see anything, only darkness. Nothingness. I didn't have a flash-forward because I'm gonna be dead. Tonight, I met all these people just like me. No visions. No hope. They were just... waiting to die. I don't wanna be like that. I don't wanna be like that. I wanna be here with you. ZOEY: Dem? DEMETRI: Yes? ZOEY: I know what I saw... 566 00:31:37,914 --> 00:31:40,394 The beach. Our wedding. 567 00:31:41,876 --> 00:31:42,919 I'' know ''you were there. 568 00:31:44,042 --> 00:31:45,597 You gotta know how much I wanted that. 569 00:31:48,619 --> 00:31:49,873 I wanted to marry you, 570 00:31:51,071 --> 00:31:52,628 have a baby with you, 571 00:31:52,838 --> 00:31:54,722 - grow old with you. - It was a mistake. 572 00:31:55,102 --> 00:31:56,462 You just made a mistake. 573 00:31:56,612 --> 00:31:58,548 There's no way of knowing for sure, so—574 00:31:58,579 --> 00:31:59,413 Zoey, I'm sure. 575 00:32:01,118 --> 00:32:02,602 I'm sure. Listen to me. 576 00:32:03,637 --> 00:32:04,595 I love you. 577 00:32:05,084 --> 00:32:07,335 I love you. You are the life that I wanted. 578 00:32:07,553 --> 00:32:10,041 Then let's have that life. 579 00:32:10,856 --> 00:32:12,880 - Zoe-- - We can have that life. 580 00:32:12,915 --> 00:32:15,718 You said you didn't want to give up hope. Then don't. 581 00:32:17,106 --> 00:32:18,562 We have two conflicting visions. 582 00:32:18,631 --> 00:32:21,499 We can choose which one we wanna believe in. 583 00:32:25,258 --> 00:32:26,297 I choose hope. 584 00:32:29,130 --> 00:32:29,747 You're right. Act V A Job for Mike AARON: Thanks for coming out, Mike. MIKE: Is everything all right, sir? AARON: Everything's fine. That's why I called you out, actually. MIKE: I thought you might be upset with me, sir, for... telling you what I told you. AARON: I've spent the last few weeks tortured by what I saw, up and down, living in limbo. But your story, what you told me... You've finally given me some peace. And I was hoping maybe I could return the favor. (Aaron shows Mike a work vest lettered with "WILLINGHAM") MIKE: Wow. AARON: You won't be the first screwed up vet this place has hired. MIKE: Aaron, thank you. AARON: No, thank you. Nicole, Bryce and the Future NICOLE: You're a real artist. You could totally sell these. BRYCE: Thanks. Yeah, I'd give 'em away for nothing if somebody could help me find her. Thanks. NICOLE: So you don't remember her name or where she lives? BRYCE: Uh, just, I remember the images... But I-I just can't put them together. NICOLE: But you remember how you felt about her? BRYCE: Oh, yeah. NICOLE: You have to find her, Bryce. BRYCE: How? She could be anywhere. NICOLE: Well, look at your paintings. Look at her. It's Japan. It has to be. BRYCE: Do you have any idea how many people live in Japan? NICOLE: You could put your story up on Mosaic. Even if she doesn't see it, someone she knows might. BRYCE: It's worth a shot. Al Gough's Note 619 00:34:51,412 --> 00:34:51,955 Morning, guys. 620 00:34:52,035 --> 00:34:52,789 - Morning. - Hey. 621 00:34:52,939 --> 00:34:55,411 - You coming to the meeting? - You two go ahead. Hey, Demetri? 622 00:34:55,471 --> 00:34:56,145 Yeah. 623 00:34:56,327 --> 00:34:57,720 I left something on your desk. 624 00:34:57,755 --> 00:34:59,780 Can you make sure it gets into the right hands? 625 00:35:00,287 --> 00:35:01,873 Yeah. See you later. 626 00:35:10,021 --> 00:35:13,132 We've got this Raynaud guy in custody. Now what? 627 00:35:13,767 --> 00:35:15,169 He's still refusing to name names, 628 00:35:15,221 --> 00:35:16,937 give us an idea of who's in charge. 629 00:35:17,164 --> 00:35:20,238 My sense is this people aren't killers—630 00:35:20,273 --> 00:35:22,939 Just lost, aggressive nihilists. 631 00:35:23,109 --> 00:35:25,240 Your sense? You've gotta do better than that, Mark. 632 00:35:25,275 --> 00:35:26,760 You can break any perp. 633 00:35:26,761 --> 00:35:28,319 You've just gotta change your approach. 634 00:35:28,431 --> 00:35:29,781 No, Raynaud's different. 635 00:35:30,717 --> 00:35:32,071 Can't threaten him with anything. 636 00:35:33,187 --> 00:35:34,235 He's got nothing to lose. 637 00:35:35,441 --> 00:35:38,873 He has seen his future, and it is bleak. 638 00:35:39,826 --> 00:35:41,953 He doesn't even know how it's gonna happen. 639 00:35:41,988 --> 00:35:45,831 It could be a fall, a fight, a shooting, a car accident. 640 00:35:45,866 --> 00:35:47,557 The possibilities are infinite. 641 00:35:49,270 --> 00:35:50,688 The guy's walking on eggshells 642 00:35:50,723 --> 00:35:54,572 every minute of the day, just waiting for the hammer to drop. 643 00:35:55,867 --> 00:35:56,389 Hello? 644 00:35:56,881 --> 00:35:59,938 Al, I-- I just got off the phone with hospital. 645 00:36:01,116 --> 00:36:02,993 They took her off life support an hour ago. 646 00:36:03,383 --> 00:36:05,157 I'm sorry, Al. She's gone. 647 00:36:07,621 --> 00:36:08,256 Every day, 648 00:36:08,291 --> 00:36:10,233 he wakes up wondering if today is the day—649 00:36:10,791 --> 00:36:14,454 If today is the day his future's finally gonna catch up with him. 650 00:36:15,451 --> 00:36:16,831 What's gonna happen to her children? 651 00:36:17,031 --> 00:36:18,495 It looks like the kids will 652 00:36:18,576 --> 00:36:20,196 have to be placed in foster care. 653 00:36:21,034 --> 00:36:23,394 Those two boys are orphans... 654 00:36:25,138 --> 00:36:26,477 Because of me? 655 00:36:26,573 --> 00:36:29,046 No, Celia's death was an accident, okay? 656 00:36:29,047 --> 00:36:30,216 It could've happened to anyone. 657 00:36:30,518 --> 00:36:31,362 But it didn't. 658 00:36:32,318 --> 00:36:33,576 It was my fault. 659 00:36:36,617 --> 00:36:37,651 I killed her. 660 00:36:40,555 --> 00:36:41,361 The change in—DEMETRI: Stop. Stop! Act VI On the Roof 662 00:37:02,999 --> 00:37:03,580 Al! 663 00:37:04,092 --> 00:37:05,427 Al! Al! 664 00:37:05,663 --> 00:37:07,656 - No, no, no. - Al! Talk to us, Al! 665 00:37:07,657 --> 00:37:10,076 Just-just talk to us. We can fix this. 666 00:37:10,082 --> 00:37:12,257 Hey, man, we can find her. We can find Celia. 667 00:37:12,338 --> 00:37:13,261 We can protect her. 668 00:37:13,296 --> 00:37:16,008 Anything you need, we can find a way to make it happen, son. 669 00:37:16,039 --> 00:37:16,892 Come on, Al. 670 00:37:16,927 --> 00:37:19,380 It can happen anytime, anywhere. 671 00:37:20,058 --> 00:37:21,939 I don't even know how it happens. 672 00:37:21,940 --> 00:37:24,831 Al, listen to me. You're alive six months from now. 673 00:37:24,871 --> 00:37:27,622 You saw it. You saw it! Man, you saw it! 674 00:37:27,855 --> 00:37:30,363 - But if I'm not here... - Come on, Al, get down. 675 00:37:30,413 --> 00:37:31,967 If I'm not here... 676 00:37:34,164 --> 00:37:35,715 It means we can change things. 677 00:37:35,716 --> 00:37:36,720 Al, please get down. 678 00:37:37,553 --> 00:37:38,707 What I saw... 679 00:37:39,247 --> 00:37:40,361 I killed her. 680 00:37:41,273 --> 00:37:42,409 What you saw... 681 00:37:44,749 --> 00:37:46,255 doesn't have to play out that way. 682 00:37:46,852 --> 00:37:48,181 Al, what are you talking about? 683 00:37:49,380 --> 00:37:51,040 I found a way to change the game. 684 00:37:54,042 --> 00:37:56,867 Al, listen to me. Celia's death was an accident, okay? 685 00:37:57,395 --> 00:37:59,619 A terrible, random accident. 686 00:37:59,715 --> 00:38:01,922 There's nothing you could've done to avoid this. 687 00:38:02,667 --> 00:38:04,054 Nothing. 688 00:38:04,203 --> 00:38:05,086 - Al! - Al! 689 00:38:06,313 --> 00:38:07,417 Al! 690 00:38:10,842 --> 00:38:12,345 - Al! - No, no, no. Al's Gift 691 00:39:11,637 --> 00:39:12,838 "Dear Celia, 692 00:39:14,415 --> 00:39:15,884 "I don't know your last name, 693 00:39:16,258 --> 00:39:17,743 "and I don't know where you live, 694 00:39:18,323 --> 00:39:20,219 "but I know you have two young boys--'' 695 00:39:21,728 --> 00:39:23,007 ''"Twins, I believe. 696 00:39:25,284 --> 00:39:27,364 "And I know you didn't have a flash-forward. 697 00:39:29,254 --> 00:39:31,249 "I understand how terrifying that is 698 00:39:32,691 --> 00:39:34,598 and how powerless you must be feeling." 699 00:39:37,396 --> 00:39:38,538 "But I want you to know 700 00:39:39,713 --> 00:39:41,030 "that you are not alone 701 00:39:43,020 --> 00:39:44,346 "and that your situation 702 00:39:44,989 --> 00:39:47,125 is not as hopeless as you think." 703 00:39:50,127 --> 00:39:52,619 "Our paths were meant to cross, 704 00:39:54,398 --> 00:39:55,703 "I didn't know how. 705 00:39:56,834 --> 00:39:58,034 I didn't know when." 706 00:40:01,405 --> 00:40:02,732 "But things have changed now. 707 00:40:04,175 --> 00:40:06,951 Things are no longer going to unfold as I had feared." 708 00:40:10,114 --> 00:40:11,848 "My gift to you 709 00:40:12,216 --> 00:40:14,213 is release from that dread..." 710 00:40:18,289 --> 00:40:20,827 "From the feeling that you're no longer in control." 711 00:40:33,938 --> 00:40:35,016 "We will never meet. 712 00:40:37,108 --> 00:40:38,310 "I will never know you. 713 00:40:39,677 --> 00:40:41,043 "So live your life. 714 00:40:42,713 --> 00:40:44,140 Live every day." 715 00:40:46,584 --> 00:40:49,800 "And know that the future is unwritten." 716 00:40:53,557 --> 00:40:54,660 "Make the most of that." Aaron and Tracy (Aaron enters his house. He walks toward the back and is startled to see his daughter.) TRACY: Hi, Dad. source of raw text